Quote:
Originally Posted by Jazzpunk  In what ways did it change your workflow? |
In my particular case, I am mixing for the NBC/Universal spec of dialnorm at -23 with peaks limited to +12dBVU or -8dBFS. This is quite a bit higher than Discovery, with a much smaller dynamic range.
To answer your question, first we re-calibrated our "tv room" to 78dB reference (as opposed to 83dB where it had been). I then had to pay closer attention to the L1 that I use as one of my dialogue chain plugs. DX noise reduction has become more important as the average dx level has been increased, yet the dynamic range has been decreased, in affect compressing the dx. My shows have a lot of creature design and explosions in them, so that has been extremely challenging to balance with the dx. I try to have a subtle drop in average level just before a large event, in order to maximize my already limited headroom.
All in all, it has made these mixes a bit too flat and boring for my tastes, but it is what the network has ordered.
Luckily, a lot of these shows go on to have a DVD release, so we mix the for the full range 5.1 first, then try to make the LT/RT fit broadcast specs. So at least one of the mixes out there sounds good. The +12 LT/RT is done in a day with the 5.1 stems, folded down and re-mixed for the LM100 spec. It is not a fun day.
I have personally found that my mixing style does not work well with the short term measurement mode of the LM100. When I do an infinite measurement during the review of the reel, my DX still ends up missing the mark low by about 1-2 dB. It is quite annoying actually. Luckily the spec allows for a +/- 1dB variance. I have sent a few mixes to QC at -24dB.